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Why Too Much is Better than Too Little

"Waste isn't always where we think it is!"

"Waste isn't always where we think it is ..."

OK … so you already know to use a good-sized palette (not a postage stamp) and a good-sized lump of paint (not a teaspoonful).

And the thing I want to remind you of today is how you also need a good-sized batch of working paint – a reservoir in fact (not a paddling pool).

The “working paint” is what you dilute from the lump to make whatever consistency of paint you need for the particular stage in hand – in other words for (e.g.) tracing, or strengthening, or flooding (or whatever).

And today I’m just reminding you how, before you start to trace or strengthen or whatever – you must prepare more than enough.

More than enough: that’s the essential point.

See, it’s just about impossible to make exactly the right amount. So chances are you’ll either prepare too much or too little. And you know which is worse – yes, too little is worse, because if you prepare too little, you’ll have to stop what you’re doing (e.g. tracing or whatever) and prepare some more.

Not just that, but you’ll need to make a new batch that matches the batch that’s just run out.

Not just that but once you’ve done testing and comparing, you’ll need to get into your stride again, and re-find your rhythm.

All of which is a mighty big distraction.

A good-sized reservoir for - undercoating

A good-sized reservoir for undercoating - the entire right-half of the palette

Which means it’s far better to make too much than too little. And I’m reminding you about this because if you’re anything like me you don’t like waste so it takes a conscious effort to resist a misguided sense of frugality.

Yes, waste isn’t always where we think it is.

Here, real waste is when someone mucks up a piece of painting – they get half-way through it and it’s looking great but then they run out of paint and have to stop and make some more. And the new batch comes out lighter / darker / runnier / thicker (or whatever) that the earlier paint. So it’s easy for something to go wrong because the new paint doesn’t behave like the old paint … And then the piece is trashed. Yes, it happens very easily.

A good-sized reservoir for - tracing

A good-sized reservoir for - tracing

And that’s the other big advantage of preparing a good-sized reservoir of working paint: you get to know how it’s behaving.

The point is, you’ve absolutely got to make more than enough paint to last you through whatever you’re doing.

Yes?

All the best,

P.S. Of course there will be paint left over – that’s the whole point. But it won’t be wasted paint because there are always many ways to use it up. Say you’re moving from strengthening to flooding: well, you just cut a few slices from your lump and thicken up the leftovers. Or say you’ve finished for the day, then you use the leftover paint to lubricate your lump before sealing it beneath its nightly cover. Little or no waste – even though you “made too much”. And at least your tracing or flooding was consistent. And at least you maintained your concentration.

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How to mix a small quantity of glass paint

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Part 2

Last month you saw an email we received from David. He asked about mixing a small quantity of glass paint – our usual approach being to mix a lot of paint, enough to keep us going for a week or fortnight.

David wrote:

Hello Gentlemen,

My question is : How do you mix up small quantities of paint for just 2 or 3 small suns …

Stained-glass sun

…

Full email and my answer here.

And I promised you a film.

Which I’ve now prepared.

It’s in 3 parts.

Part 1:
the way I was first shown to mix a small quantity of glass paint and what’s wrong with this approach

Part 2:
a slower, better way to mix a small quantity of glass paint

Part 3:
five days later – has it dried out?

Here you are, glass paint fanatic I know you are – and kindly be advised that I am headless throughout this fascinating video …

https://vimeo.com/349928405

I hope this particularly helps new students coming here from our book, The Glass Painter’s Method – because yes, when you’re starting, it can be frightening I admit to mix the large quantity of glass paint we use here. (Though not as frightening surely as watching someone who talks but doesn’t seem to own a head.)

By all means mix a teaspoon-and-a-half to start with.

Just don’t do it like Part 1.

Take 10 minutes and do it like Part 2.

After 5 goes, you’ll be doing it in half-the-time.

Then you’ll be ready to mix your paint the way we recommend.

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How we plate stained glass

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Sorry, Rosemary, this is shockingly late: you asked us about plating:

… and we’ve been so busy in the studio, it’s only now that we can sit down and answer your question.

You might plate one piece of glass behind another for several different reasons.

For instance:

  1. This is the only way to achieve the colour you want.
  2. You want to use silver stain but the coloured glass you’ve chosen just won’t take stain at all.
  3. To achieve a particular effect e.g. the drowned Orphelia painted on the piece behind, then blue shaded glass plated on top to represent the watery grave in which she lies.

Thus the up-side is you achieve the precise effect you want.

But plating has its down-sides such as:

  1. The risk of condensation in between the plated glass.
  2. The increased time to cut, paint, stain, fire and assemble the glass in lead.
  3. The added weight.

If your plated stained glass forms part of a weather-fronting window, item 1. is serious indeed.

Items 2. and 3. become serious if you plan to plate extensively.

Therefore it’s altogether easier when your plan is to make a small stained glass window which will be framed, for instance, and hung inside against a window.

A decorative panel, not a fitted stained-glass window.

So from his sketch of Our Lady of Walsingham …

David prepared a small water-coloured cartoon:

He cut the glass and painted the trace-lines:

Then strengthened and shaded it, so:

And also plated most of it, sometimes to get the rich, deep colour he wanted, sometimes because the glass would not take silver stain.

The process is:

  1. Cut the glass, then paint and stain and fire it each time.
  2. After the last firing, check again the pieces are the same size, and grind them if they aren’t.
  3. Clean them.
  4. Wrap the glass together in copper foil.
  5. Lead the glass in deep-hearted lead, then solder and cement as usual.

Here’s a whirlwind overview:

https://vimeo.com/327954591

Leaving aside the risk, is plating worth the work?

Only your human eye can make this judgment.

Consider this example from the window we featured in several of our earlier posts this year (e.g. here and here and here).

The painted glass on its own:

Here it is side-by-side with the glass we chose to plate it with:

And the effect:

Sometimes, plating is the only way.

Talk soon.

Best,

P.S. We don’t use plating very often. If we plated often, I’m sure we’d find improvements we could introduce. Please therefore just take this account of what we do right now as a prompt for you to find a new and better way.

P.S. In January, I wrote a post about the undercoat. A colleague from Michigan, Tom N., emailed us with photos and some excellent new information about the technique. Our huge thanks to Tom: we’ll add his contribution soon.